Glarean

Glarean

 

(Glareanus; pseudonym of Heinrich Loris; also Loritus, Loriti). Born June 1488, in Mollis, canton of Glarus; died Mar. 28, 1563, in Freiburg. Swiss humanist scholar, music theoretician, and educator.

Glarean began to study at the University of Cologne in 1506, and in 1510 he became a master of arts. He taught at the universities of Basel (in 1514 and from 1522) and Paris (1517-22). In 1529 he became a professor of poetics at Freiburg. Glarean was an erudite scholar. His articles on music exercised considerable influence on the development of music theory and are an important source for modern music scholars. Glarean’s main musical treatise is the Dodecachordon (1547). He broadened the system of modes, adding four new modes to the medieval eight. In his modal system he distinguished two main modes—the Ionian (major) and the Aeolian (minor)—which were widespread in musical practice (especially popular) but not admitted by conservative musicians. The Italian Renaissance composer and musical scholar G. Zarlino developed Glarean’s system.

Mentioned in ?
References in periodicals archive ?
This edition also included Heinrich Glarean's (1488-1563) Cbronologia, a detailed chronology of the A UC which first appeared in the Basel edition of 15 31.
(Lest Joao IV should come across as a unique eccentric, Elisabetta Pasquini recounts how Padre Martini obtained a promise from Pope Benedict XIV in 1750 that his library, too, would not be dispersed, but kept intact as a single collection.) As a further example, Iain Fenlon tells, in his essay "Hernando Colon, Heinrich Glarean and others" (p.
(186) A letter by Heinrich Glarean confirms that Zwingli purchased the 1515 Aldine edition of Tertuallian's Apologeticum; yet Zwingli references Tertullian explicitly some fifty times, frequently from works other than the Apologeticum.
In particular, Judd refers to the German Swiss Catholic humanist Heinrich Glarean's appropriation of a set of Heyden's examples for use in his own treatise on mode, the Dodecachordon (1547), as a graceful transition to two chapters on Glarean's process of exemplification.
In reconstructing the process by which Glarean accumulated his examples, by revealing its humanist roots, Judd posed a tantalizing question: how did Glarean intend his numerous examples of polyphonic music, notated in choirbook format, to function in his treatise?
The passage certainly does contain an element of suspense, but rather than interpret it as an example of Obrechtian wit, why not take it seriously as an instance of what Glarean called the `maiestas' of Obrecht's music?
Heinrich Glarean's books: the intellectual world of a sixteenth-century musical humanist.
The music theory treatises in the third chapter span a wide range of dates and topics, from the mathematical treatment of intervals in Cassiodorus to Heinrich Glarean's twelve church modes.
Iain Fenlon reconstructs, in turn, the library of the music theorist and humanist Heinrich Glarean, in which classical texts are paramount.
Besides the obvious ones of Masses based on the same tunes - Adieu mes amours, Fortuna desperata, Malheur me bat, and even possibly Hercules Dux Ferrariae (if Glarean's comment was not in error about a Mass by Obrecht with this title) - there are seemingly hidden references sprinkled about in Masses from Obrecht's middle period.
Indeed, the writings of Pietro Pontio, a contemporary theorist whose career and dates bring him closer to Ingegneri than any other, could well elucidate the modality/tonality of these works better than those cited, by Glarean, Bona and Banchieri.